EXT. HOUSE. DRIVE AND ENTRANCE - DAY
It's a fine house, screened from the road by some big old trees, with a circular driveway. There are garages or a car-port at one end; and the simple but attractive entrance is at the other. There are no cars about. It's a large house and well-made, probably in the thirties when it represented advanced design, bit it is in no way grand or self-consciously imposing. The whole place looks cared-for and, even from the outside, lived-in.
INT. LIVING ROOM
It's a superb room, beautifully furnished but without too much stuff, very wide and with a lot of glass and sliding doors that opens onto a deck or terrace that runs the whole length of the house. Beyond the terrace there's a delightful informal garden, and beyond the garden the hill plunges down to some part of the Bay. The panorama is breathtaking. One end of the big room opens into the dining room, and the kitchen is beyond that. At the other end there is a room which we will learn is Matt Drayton's study. The main staircase is in the entrance and there might be two of them, as well as passage leading to the kitchen.
INT. JOEY's ROOM
Upstairs. It's a big bed-sitting-room, feminine but not frilly. JOEY is taking things out of the suitcase and preparing to change out of the suit in which she arrived. She is moves energetically, happily. She might be humming.
INT. ENTRANCE HALL
She comes quickly down the stairs as footsteps are heard from outside; and flings wide the door just as CHRISTINA DRAYTON reaches it. For a single instant a question of concern show in Christina's face; but it disappears as Joey rushes to her and the two embrace with great affection.
JOEY
Mom!
CHRISTINA
Darling! Are you all right? There's nothing
wrong, is there?
As they pull apart she notices the two large suitcases besides the door.
JOEY
Nothing! Everything is wonderful. Oh, Mom,
I'm so glad to see you! Come let me tell
you what's happened. I'll explain everything.....
INT. LIVING ROOM
They come into the living room, still holding onto one-another affectionally. Christina hears, faintly and indistinctly, a voice on the phone in the other room.
CHRISTINA
Who's here? I hear someone talking --
JOEY
You'll see. Oh, Mom, I am so happy. I've
never been so happy in my life! I'm just --
CHRISTINA
Bursting: I can see that, and I'm already
feeling happy for you. Do I know him?
JOEY
No. That's just it. I only met him myself
ten days ago. And you wouldn't believe
what's happened in just ten days!
CHRISTINA
I think I might, if you'd calm down long
enough to tell me. Lots of wonderful things
have happened to people in less that ten days.
JOEY
— and Mom, he's so — so calm, and so
sure of everything. There aren't any
tensions in him. He knows what he believes,
and what he thinks is right, and why, and —
where he's going. But John —
I haven't even told you his name —
The study door opens and John Wade Prentice starts into the room; but then stops abruptly as he sees Christina, and just stands there. Her glance has lifted from her daughter to him. Joey hasn't heard his entry and has her back to him. They simply look at each other, expressionlessly, and goes on for a long moment looking at each other expressionlessly as Joey goes on speaking without a break.
JOEY
— It's John Wade Prentice. Isn't that a
lovely name? Joanna Prentice, I'll be. But
there’s something John's been concerned about.
He's been wondering about you and Dad and
weather you'd be upset —
JOHN
(finally, suddenly)
AAAAHH — HHEMmmm!
He clears his throat in the loudest possible way, with deliberate and preposterous theatricality, and then comes on across the room. Joey has jumped, and both she and Christina get up. Christina still hasn't' taken her eyes off him, and he watches her, and they look go on looking at each other. Joey has at once moved to him and taken his arm and turned back beside him to face her mother.
Screenplay by
William Rose
